DailyDot prison dancer Feedhttp://www.dailydot.com/tags/prison-dancer/Recent prison dancer articles from Daily Doten-usMon, 17 Jun 2013 18:26:00 +0000Watch prisoners set the world record for most people dancing in jailhttp://www.dailydot.com/entertainment/world-record-most-people-dancing-prison/<p><img src='//cdn0.dailydot.com/cache/30/b9/30b94e6b5a9a72949bde436b5b5458ae.jpg'></p><p dir="ltr">
Move over,&nbsp;<a href="http://www.youtube.com/watch?v=hMnk7lh9M3o">Cebu</a>. There&#39;s a new warden of the dance in prison.</p>
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At least 1,200 prisoners in Peru&#39;s Lurigancho, a high-security prison located on the outskirts of Lima, banded together to beat the world record for the most inmates dancing together in one place.</p>
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The men from Peru, Venezuela, Ecuador, and Colombia practiced for over three months to get the aerobic moves just right before attempting the feat.</p>
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Donning multi-colored uniforms, the prisoners were given small wooden platforms and were coached by Roger Romero.</p>
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&quot;The objective on June 14 is to set a new Guinness Record and show the world that it&#39;s possible to change: that although they have lost their freedom, they have not lost their right to life,&quot; said Col. Tomas Garay.</p>
<p>
Dancing has become a programmed fitness activity in Cebu, where the Filipino prisoners who set the previous record while dancing to &quot;Thriller&quot; reside. It&#39;s supposed to increase camaraderie and discipline. The prisoners&#39; stories have even inspired a&nbsp;<a href="http://www.dailydot.com/entertainment/prison-dancer-interview-broadway-series/">webseries</a>&nbsp;and&nbsp;<a href="http://www.dailydot.com/entertainment/filipino-prison-dancer-thriller-movie/">an upcoming film</a>,</p>
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It&#39;s already having an effect on the prisoners at Lurigancho.</p>
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&quot;There has been a radical change in the prison and this is because of the world of the colonel, the world of Alejandro Nunez del Arco, the work of all the guys who have been here,&quot; said Miguel Angel Suarez, one of the prisoners who participated in the dance.</p>
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According to ITN, Guinness is still trying to confirm that the prisoners set a new world record.</p>
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<em>H/T:&nbsp;<a href="http://www.dailymail.co.uk/news/article-2342121/Prison-exercise-Peruvian-style-Colourful-inmates-break-world-record-aerobic-display-yard.html">Daily Mail</a>&nbsp;| Photo via&nbsp;<a href="http://youtu.be/5OGpAGteG3Y">ITN</a>/YouTube</em></p>
michelle@dailydot.com (Michelle Jaworski)Mon, 17 Jun 2013 18:26:00 +0000http://www.dailydot.com/entertainment/world-record-most-people-dancing-prison/EntertainmentFilipino prisoners dance their way to the big screenhttp://www.dailydot.com/entertainment/filipino-prison-dancer-thriller-movie/<p><img src='//cdn0.dailydot.com/cache/49/58/4958ec135a37374d355119765c1c0550.jpg'></p><p>
In 2007, a YouTube video featuring a horde of&nbsp;Filipino inmates&nbsp;who&nbsp;<a href="http://www.youtube.com/watch?v=hMnk7lh9M3o">perform a well-choreographed version of Michael Jackson&rsquo;s &quot;Thriller&quot; music video</a>&nbsp;became one of the year&rsquo;s biggest viral hits. It has scored more than 50 million views to date and has received&nbsp;<a href="http://www.youtube.com/watch?v=bTFBy_71U1s">extensive news coverage</a>. Almost six years after that video, its incarcerated stars are making their big screen debut in&nbsp;<em><a href="http://www.imdb.com/title/tt1743325/">Dance of the Steel Bars</a></em>, a film loosely based on their proclivity for dance.</p>
<p>
<em>Dance of the Steel Bars</em>&nbsp;is actually a fictional movie about a&nbsp;<a href="http://www.imdb.com/title/tt1743325/plotsummary?ref_=tt_ov_pl">wrongly imprisoned American</a>&nbsp;and the bond he forms with a fellow inmate based around their shared love of dancing. I&rsquo;m thinking it&rsquo;s somewhere between&nbsp;<em><a href="http://www.imdb.com/title/tt0111161/?ref_=fn_al_tt_1">The Shawshank Redemption</a></em>&nbsp;and&nbsp;<em><a href="http://www.imdb.com/title/tt0462590/">Step Up</a></em>. Director&nbsp;<a href="http://www.imdb.com/title/tt0111161/?ref_=fn_al_tt_1">Cesar Apolinario</a>&nbsp;shot the film at the Cebu Provincial Detention and Rehabilitation Center, home of the dancing inmates. &ldquo;This film talks about redemption, about brotherhood,&rdquo;&nbsp;<a href="http://www.huffingtonpost.com/2013/06/13/philippines-prison-dancers-movie_n_3433789.html?utm_hp_ref=world">he said</a>. &ldquo;I did not only see them as brilliant dancers, but they are actually brilliant actors.&rdquo;</p>
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As it turns out, the popular video is more than just a one-off viral hit at the Cebu jail. Instead, dancing has become a programmed activity meant to increase fitness, discipline, and camaraderie. Several more routines have found their way to YouTube. Most recently the inmates discovered the&nbsp;<a href="http://www.youtube.com/watch?v=We8m7EkBBCk">Harlem Shake</a>. They have also&nbsp;moved their bodies to (surprise, surprise) &quot;Gangnam Style.&quot;</p>
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<iframe frameborder="0" height="337" src="http://www.youtube.com/embed/8dAQcd9zRb4" width="600"></iframe></p>
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The popular YouTube dances seem to be working wonders at the Cebu jail. It seems like a fairly heartwarming story, and I&rsquo;m sure&nbsp;<em>Dance of the Steel Bars</em>&lsquo; creators hope the film can get at a similar feeling.</p>
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<em>By Sam Gutelle | Screengrab via YouTube</em></p>
<apps.feed.feeds.NoneAuthor object at 0x7fd7ce424c50>Mon, 17 Jun 2013 10:00:00 +0000http://www.dailydot.com/entertainment/filipino-prison-dancer-thriller-movie/YouTubeEntertainmentWeb marvel "Prison Dancer" breaks ground onstage and onlinehttp://www.dailydot.com/entertainment/prison-dancer-interview-broadway-series/<p><img src='//cdn0.dailydot.com/cache/f6/d3/f6d317bb3d79884c4f5a921234e7d912.jpg'></p><p>
<a href="http://www.youtube.com/playlist?list=PL7CB916433DDAFF9A"><em>Prison Dancer</em></a> is the only webseries that&rsquo;s also been an off-Broadway hit.</p>
<p>
Nominated for a Canadian Screen Award tonight for Best Digital Program, <em>Prison Dancer </em>is unique any way you look at it: It&rsquo;s a musical webseries about a fictional Web musical phenomenon based on an <em>actual</em> Web musical phenomenon. The story&rsquo;s based on a Cebu prison in the Philippines that became an international sensation when <a href="http://youtu.be/hMnk7lh9M3o">footage of prisoners dancing en masse to <em>Thriller</em></a> went viral in 2007.</p>
<p>
<em>Prison Dancer</em> takes Cebu as a starting point for its own story about a fictional Filipino prison at the center of a similar viral phenomenon. Many things in the series are reminiscent of the real <em>Thriller</em> dance: the ubiquitous orange jumpers, the rock and R&amp;B vibe of the project, and the transgender performer at the center of it all.</p>
<p>
But <em>Prison Dancer</em> also pays narrative homage to well-known prison tropes like <em>Shawshank Redemption</em>&mdash;less <em>Glee</em>, more <em>Jailhouse Rock</em>. It goes behind the scenes, focusing not on the rousing ensemble dance numbers but on the lives of the performers themselves. The <a href="http://youtu.be/PgdGbzppqew">first episode</a> features a musical number, &quot;Point of View,&quot; that cleverly does two things at once: It spells out our narrative journey as prison dancing changes our characters&#39; points of view and also tells us how we as audience members can access the story. At the end of each episode you can &ldquo;choose your own adventure&rdquo; by selecting a different character (or all of them) to tell the story of their lives on the inside.</p>
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Prison Dancer&#39;s meta-narrative about prisoners and audiences interacting and coming together seems to be paying off. &quot;Thank you for bringing pride﻿ to Pinas,&quot; wrote one commenter on the first episode, which has racked up over 82,000 views on YouTube. The series&#39;s <a href="http://www.facebook.com/prisondancer">Facebook page</a> has over 8,000 likes. &nbsp;</p>
<p>
</p>
<p>
Creators Romeo Candido (music and lyrics) and Carmen de Jesus (script) originally wrote <em>Prison Dancer</em> as a screenplay before producer Ana Serrano realized that it would work better as an interactive webseries. From there, the concept evolved outward, expanding from an interactive Web musical into an <em>actual</em> musical.</p>
<p>
<em>Prison Dancer</em>, the musical, <a href="http://broadwayworld.com/article/BWW-Reviews-Less-is-More-for-NYMFs-PRISON-DANCER-20120726">premiered last summer</a> at the <a href="http://www.nymf.org/prisondancer">New York Musical Theatre Festival</a> (NYMF), where it became one of the fastest-selling shows on the program and garnered critical acclaim as well as awards for choreography, ensemble, and lead performances. <em>Prison Dancer</em> also developed into a separate production of what Serrano calls &quot;live performative cinema&quot;&mdash;a <a href="http://www.tangodiva.com/blog/2012/04/02/prison-dancer-film-review/">hybrid stage and film performance</a> that involves actors performing parts of the webseries alongside the film, complete with audience interaction. Think a showing of <em>Rocky Horror</em> if Tim Curry showed up to do the vocals live onstage.</p>
<p>
Each of these different platforms tells the story from a different perspective or timeframe. This storytelling method is called <a href="http://www.dailydot.com/entertainment/transmedia-storytelling-roundtable-bernie-su/">transmedia</a>&mdash;when a narrative runs on multiple platforms and contains various levels of audience interactivity. But where most transmedia stories might want audiences to interact with the characters or participate in online writing or games, <em>Prison Dancer </em>invites viewers to <a href="http://www.youtube.com/watch?v=N6bc3xVdJUs">remix their latest musical number</a> or <a href="http://youtu.be/viCKO0MQhD4">cover one of their songs</a>. They even teach us how to do the Pak Yow, an invented dance moved named for famed Filipino boxer Manny Pacquiao.</p>
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All the while, <em>Prison Dancer </em>weaves concurrent storylines around its various prisoners. Its biggest gamble is perhaps its focus on its transgender main character, Lola, who holds her own inside prison but still faces danger on the outside. Fans have embraced her, and actor Jeigh Madjus, who plays her in both the webseries and the New York stage production, picked up the best actor award at the NYMF and garnered <a href="http://www.stagebuzz.com/2012/07/prison-dancer-musical-return-to-oz.html">critical acclaim</a>. The musical&#39;s commitment to telling the stories of real Filipinos won it a spot at the Reel Asian Film Festival in Toronto last November, and the creative team recently partnered with producer Jonathan Reinis to bring <em>Prison Dancer</em> to the states for an extended run. They&#39;ve also begun releasing character vlogs in anticipation of the show&#39;s second season and are working on a full feature film.<br />
<br />
On the eve of the Canadian Screen Awards, we asked Candido, de Jesus, and Serrano to share their thoughts on the story of <em>Prison Dancer</em> as well as how they juggle all these different storytelling platforms. The answers, provided via email, turned into a &quot;collaborative writing exercise&quot; for the three of them.</p>
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<p>
<strong><em>DD:</em></strong> <em>Did the vision for the project evolve from the webseries to the stage to the movie, with each part of the narrative developing concurrently, or did you always have the idea to create a concept that would involve slightly different tales told on different platforms?</em></p>
<blockquote>
<p>
The moment we realized this was a &quot;transmedia experience,&quot; we knew that we would allow for different facets of the story to be told on their appropriate platforms. &nbsp;For the webseries, we knew that a mock-documentary story told from the point of view of a journalist was most appropriate: Our webseries is a fiction that was spun from a viral meme found on YouTube, so we knew that the audiences/viewers of the original Dancing Inmates of Cebu videos may have already started spinning their own &quot;stories&quot; about who these prisoners were. Thus to help those audiences make that emotional leap from liking that viral meme to engaging with our web series, we needed the vehicle of that journalist&#39;s voice or point of view as a bridging device.<br />
<br />
For the stage musical, it&#39;s a different story. The stage is a more intimate medium. We needed to tell a story from the point of view of one of the prisoners. The most obvious choice is Lola because she has dreams of being on broadway, and (spoiler alert) she gets out of prison in season 1 of the webseries. So the whole story revolves around him/her.</p>
</blockquote>
<p>
<strong><em>DD:</em></strong> <em>How did you attract talent for each of the productions? </em></p>
<blockquote>
<p>
Casting has always been the hardest part. In different iterations we would focus on different skill sets. For our first workshop we wanted Filipino actors who could kinda sing so we could focus on determining if the drama of the musical held up. &nbsp;Thankfully there are great Filipino actors in Toronto. For the New York staging we wanted nothing less than triple threats. We did the traditional casting call for that. &nbsp;(In the building where the casting took place, it was apparent which was the Prison Dancer room.)<br />
<br />
For the webseries, we took some actors from the workshops, had people audition online with YouTube videos, and drew from our years of experience and relationships to find the perfect cast who could sing, dance, and act. For many of them, it was their first real &#39;film&#39; experience.</p>
</blockquote>
<p>
<strong><em>DD</em></strong>: <em>Did you develop the focal four inmates around the stories of real people, or are they mostly your own creations?</em></p>
<blockquote>
<p>
All the characters are our original creations. We wanted to tell the archetypal story of man and what imprisons him, whether it be circumstance, guilt, the past, the inability to express love, etc. In many ways, these characters are extensions of ourselves and the things we have been searching for and aspiring for as people and storytellers... We have always approached our prison as a metaphorical prison as opposed to a real and accurate jail.</p>
</blockquote>
<p>
<strong><em>DD</em></strong>: <em>In the webseries the story is framed through the point of view of a &quot;viral meme hunter&quot; who&#39;s searching for the story behind the meme. Can you talk a bit about the choice to frame the story this way?</em></p>
<blockquote>
<p>
Matt Wells, our &quot;viral meme hunter&quot; provided a way for the audience to be introduced and included in the discovery of the prisoners and is the guiding voice of inquiry. Plus, his deadpan, serious delivery is a great comic foil to some of the outrageousness.</p>
</blockquote>
<p>
<strong><em>DD: </em></strong><em>This </em><a href="http://badassdigest.com/2013/01/09/film-crit-hulk-smash-hulk-vs.-tom-hooper-and-art-of-cinematic-affectation/"><em>epic review</em></a><em> of the film</em> Les Mis&eacute;rables<em> talks about the danger of putting both feet in the concrete, i.e. wallowing in misery. How did you keep from putting both feet in the concrete with </em>Prison Dancer<em>?</em></p>
<blockquote>
<p>
They sing! They dance! They laugh! It may be set in a dark, poor, third-world prison full of criminals, but we didn&#39;t focus on that. We focused on the heart, the humanity, and the transcendence of that oppressed world through music and dance&mdash;which is honestly, a central part of the Filipino spirit and way of life. The whole point of Prison Dancer is to highlight how Filipinos &nbsp;can take their &#39;miserable&#39; circumstance and make a song and dance about it.<br />
<br />
The Philippines is a third-world country. Life is tough<br />
there. Conditions are tough there. Rich are rich and poor are poor. Not unlike the Les Miz France. Filipinos just have a certain flare with their adversity and way of celebrating life that is unique to being Filipino and that&#39;s what we are highlighting in <em>Prison Dancer</em>. [S]orry to say, but if there was a &#39;fierce&#39; off between poor Filipinos and poor 18th Century French people, the Filipinos would take it.</p>
</blockquote>
<p style="text-align: center;">
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<strong><em>DD</em></strong>: <em>Have you seen different kinds of responses to the project from different communities&mdash;</em><em>i.e. the Filipino community, the theatre community, and the YouTube community?</em></p>
<blockquote>
<p>
It&#39;s been an interesting mix&mdash;mostly positive responses! Our YouTube stats show that we have a huge viewership of the webseries based in the Philippines. It&#39;s kind of hilarious that lots of people comment on the videos as if it was real. There&#39;s been some trolling and racist and hateful comments too, but that&#39;s par for the course in the YouTube-world. The Filipino community has been supportive and especially with our stage version, the theatre community&mdash;especially the Broadway folks we met during our stage production last year&mdash;were really stoked that we&#39;d created a platform to showcase the full range of Filipino talent and a uniquely Filipino story.</p>
</blockquote>
<p>
<strong><em>DD: </em></strong><em>How much collaboration was there between the writers and the original cast? For instance, did actor Norman Alconcel contribute rap lyrics or dance moves for &quot;Pak Yow?&quot;</em></p>
<blockquote>
<p>
With regards to the webseries script, we wrote it all, but part of this whole transmedia experience is to let our talent also be cocreators of the experience. So right now we are releasing <a href="http://www.youtube.com/playlist?list=PLI5-5QZs1EfJDScWgjbPtP_Qvt94U562X">Lola</a>&#39;s and <a href="http://www.youtube.com/playlist?list=PLI5-5QZs1EfLEeCLKJokiVFX9InKwZcpt">Hookaps</a>&#39; vlog series and Jeigh and Norm, respectively, are largely responsible for the content. We gave them some story arcs to consider especially in light of all the other story points for season 2 and the other platforms, but they are fully responsible for making these characters live and breathe.</p>
</blockquote>
<p>
<strong><em>DD: </em></strong><em>The outlook for musical theatre on Broadway seems pretty dismal--endless revivals, revues, and derivatives of family films. Do you see collaborative and multi-platform art forms like </em>Prison Dancer<em> as a stage in the evolution of musical theatre, or is this something totally new?</em></p>
<blockquote>
<p>
There&#39;s a democratization that wants to happen in musical theatre&mdash;with the economy as it is, there are a lot of people out there who can&#39;t afford a $90 ticket to a show. But that doesn&#39;t mean they don&#39;t want to see good musicals. <em>Les Mis</em> is killing it in the cinemas, and they will no doubt have a resurgence of ticket sales to <em>Les Mis</em> stage revivals as a result. But <em>Prison Dancer</em> wants to bring this storyworld to you on multiple platforms, to be accessible to everyone, to invite remixes and covers and collaborations and somehow we hope to weave it all together&mdash;and be the first musical to create our own audience on the web and then expand their experience on the stage.</p>
</blockquote>
<p>
<strong><em>DD:</em></strong><em> In the musical theatre world, we&#39;ve come a long way from </em><a href="http://en.wikipedia.org/wiki/Miss_Saigon#Casting_controversy"><em>Jonathan Pryce doing </em>Miss Saigon<em> in yellowface</em></a><em>, but we still have a long way to go. Is </em>Prison Dancer<em> an exception or is it part of a new rule, where underrepresented communities create diversity by </em><a href="http://www.dailydot.com/entertainment/dante-basco-hang-loose-homestuck-interview/"><em>creating the shows themselves</em></a><em>?</em></p>
<blockquote>
<p>
We&#39;ve got Filipinos playing Filipinos in a musical&mdash;amazing! &nbsp;We cannot wait around for others to write these shows for us. If we want to showcase what our people can do, we have to create our own platforms to do it. And so we are, so we can be part of the solution rather than just complaining about the lack of roles or shows.</p>
</blockquote>
<p>
<strong><em>DD: </em></strong><em>Is there a launch date in place for season 2 yet, and what can we</em><br />
<em>expect to see in new episodes?</em></p>
<blockquote>
<p>
Season 2 launch date TBD, but coming soon! In the new episodes, we see more backstory on all the prisoners, and how they got into prison, as well as glimpses of Lola&#39;s new life on the outside and her struggle for fame, and love! And more new music and dancing!</p>
</blockquote>
<p>
<strong><em>DD: Will we ever get more </em></strong><a href="http://www.youtube.com/watch?annotation_id=annotation_924279"><strong><em>dancing from the Head Guard</em></strong></a><strong><em>? </em></strong></p>
<blockquote>
<p>
Oh yes, since he &quot;directed the bidyos&quot; the power and vision has given him some pretty grandiose ideas!</p>
</blockquote>
<p>
<em>Screengrab via </em><a href="http://www.youtube.com/watch?v=QlGC3YhYcNk"><em>YouTube</em></a></p>
<p>
&nbsp;</p>
aja@thedailydot.com (Aja Romano)Wed, 27 Feb 2013 14:00:00 +0000http://www.dailydot.com/entertainment/prison-dancer-interview-broadway-series/YouTubeEntertainment10 Web series to watch in 2013http://www.dailydot.com/entertainment/10-best-new-web-series-2013/<p><img src='//cdn0.dailydot.com/cache/19/f5/19f5e2965ae189833c9fe9c3bab33eef.jpg'></p><p>
Netflix&rsquo;s exclusive online series <em>House of Cards</em> has put the subject of Web series on everyone&#39;s mind (and the ballots for <a href="http://www.dailydot.com/entertainment/youtube-netflix-2013-emmy-awards/">Emmy consideration</a>). But there&#39;s so much more out there than what&rsquo;s streaming on Netflix and Hulu. From Yahoo!, Vimeo, and YouTube to a host of private networks, there&#39;s a Web series out there for you.</p>
<p>
So which series are worth checking out? You may have heard about the &quot;big&quot; shows, like Felicia Day&#39;s <a href="http://www.dailydot.com/interviews/felicia-day-guild-geek-interview/"><em>The Guild</em></a>, Tom Hanks&#39;s <em>Electric City</em>, and Hulu&#39;s <em>Booth at the End</em>. You may have even heard about the online cult hits, like <a href="http://www.dailydot.com/entertainment/squaresville-season-2-interview-zelda-esther/"><em>Squaresville</em></a> and <a href="http://www.dailydot.com/entertainment/inspector-spacetime-community-youtube/"><em>Inspector Spacetime</em></a>. But what about the other shows you may have missed? In this follow-up to last year&#39;s <a href="http://www.dailydot.com/entertainment/web-series-101-guide/">Web Series 101</a>, the Dot gives you the rundown on what&#39;s current, what&#39;s coming, and what we hope will come back.</p>
<p>
<big><strong>1) </strong><a href="http://www.awkwardblackgirl.com/"><strong><em>Awkward Black Girl</em></strong></a></big></p>
<p>
<strong>Pros:</strong> It&#39;s impossible not to love the ongoing adventures of J, whose bad rap lyrics are almost as awkward as her life. With season 2 underway, this award-winning series blends social anxiety, romance, and nerd culture into one hilarious mix that continues to be the best show on the Web.</p>
<p>
<strong>Cons:</strong> None, just love.</p>
<p style="text-align: center;">
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<p>
<big><strong>2) </strong><a href="http://www.watchwigs.com/"><strong><em>Wigs</em></strong></a></big></p>
<p>
<strong>Pros: </strong>With all-star casts, good writing, and a commitment to crafting memorable characters, it&#39;s easy to fall in love with <em>Wigs</em>, which is less a series than a network of short sub-series, each one exploring the life of a different woman.</p>
<p>
<strong>Cons:</strong> The series is a bit difficult to follow because of all the concurrent series and different storylines. It&rsquo;s easiest just to <a href="http://www.youtube.com/channel/UCTCOTlvo6aY2qk8LtOdIFqA">pick a playlist</a>.</p>
<p style="text-align: center;">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/B27yWvaujZc?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<big><strong>3) </strong><a href="http://screen.yahoo.com/burning-love/"><strong><em>Burning Love</em></strong></a></big></p>
<p>
<strong>Pros:</strong> It&rsquo;s produced by Ben Stiller, who knows comedy and assembled an A-list cast. <em>Burning Love</em> is a hilarious, intelligent, surprisingly endearing parody of reality TV dating competitions. It takes these shows&#39; heady cliches about love and sex to their natural hysterical conclusions, all while showcasing great writing and great acting from a cast including Kristen Bell, Jennifer Aniston, and <em>Community&#39;</em>&#39;s Ken Jeong.</p>
<p>
<strong>Cons: </strong>Although season 2 is <a href="http://screen.yahoo.com/limo-introductions-093039306.html">currently airing</a>, season 1 has been taken totally offline in anticipation for the show&#39;s <a href="http://www.tubefilter.com/2013/02/01/burning-love-season-1-e-tv/">television debut next week</a>. The upside? Just like the actual <em>Bachelor/Bachelorette</em>, you don&#39;t need to know anything about season 1 to jump into season 2.</p>
<p>
<big><strong>4) </strong><a href="http://www.youtube.com/user/prisondancer?feature=watch"><strong><em>Prison Dancer</em></strong></a></big></p>
<p>
<strong>Pros:</strong> This unique and poignant show is based on the hit viral video to Filipino prisoners dancing to Michael Jackson&#39;s &quot;Thriller.&quot; &nbsp;Through a series of vignettes about a fictional Filipino prison dance team, this musical&mdash;which is also an <a href="http://www.dailydot.com/entertainment/transmedia-storytelling-roundtable-bernie-su/">interactive transmedia experience</a> with an <a href="http://prisondancer.com/">actual stage counterpart</a>&mdash;is touching, funny, and well-acted.</p>
<p>
<strong>Cons:</strong> The plot is a little flimsy and melodramatic at times, but with a diverse cast, a transgender main character, and a light focus on social issues, we don&#39;t have a lot to complain about here.</p>
<p style="text-align: center;">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/PgdGbzppqew?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<big><strong>5) </strong><a href="http://www.youtube.com/playlist?list=PLrFaRFw9s4G5HtBlrSmfePJvWKR8l26bi"><strong><em>Zoochosis</em></strong></a></big></p>
<p>
<strong>Pros:</strong> Machinima&#39;s latest offering is <a href="http://www.youtube.com/playlist?list=PLrFaRFw9s4G5HtBlrSmfePJvWKR8l26bi">hypnotically weird</a>, and we&#39;re on the &quot;love&quot; side of the love/hate divide.</p>
<p>
<strong>Cons:</strong> <em>Zoochosis </em>is the offspring of a crass and heinously sexist series of &quot;short films&quot; by the same name at Zoochosis.com. So far they&#39;ve (mostly) stayed away from the intensely creepy, objectifying antics of the previous version, but seriously, one more creeper cleavage or panty shot and we&#39;re done here.</p>
<p style="text-align: center;">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/hf9Zaurmbzg?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<big><strong>6) </strong><a href="http://www.hollywoodreporter.com/news/ghost-ghirls-jack-black-shine-403092"><strong><em>Ghost Ghirls</em></strong></a></big></p>
<p>
<strong>Pros: </strong>Jack Black is behind it, and hey, if Jack Black thinks it&#39;s funny, it probably is. (Unless it involves Michael Cera. It&#39;s OK, Jack, we all have our weak spots.)</p>
<p>
<strong>Cons: </strong>It looks like a fictional rehash of a short-lived tongue-in-cheek reality bit called &quot;Girly Ghost Hunters.&quot; Then again, just because Canada rejected the concept doesn&#39;t mean the Internet will.</p>
<p>
<big><strong>7) </strong><strong><em><a href="http://thepathworld.com/">The Path</a></em></strong></big></p>
<p>
<strong>Pros: </strong>This is an intriguing Young Adult fantasy series along the lines of <em>Beautiful Creatures</em> and <em>Once Upon a Time</em>, whose plot is being crowdsourced directly from fandom. So far it seems to be working.</p>
<p>
<big><strong>8) </strong></big><strong><em><a href="http://upyri.tv/"><big>Upyri</big></a></em></strong></p>
<p>
<strong>Pros: </strong>We met these guys at last year&#39;s Dragon*Con, where they were scouting around and talking to fans for their Christian vampire urban fantasy rap Web series. Let&#39;s just repeat that. <em>Christian vampire urban fantasy rap</em>.</p>
<p>
<strong>Cons: </strong><a href="http://www.youtube.com/watch?v=KI9ljR_7_j4">So far </a>it looks like it&#39;s trying desperately to do about 70 different things at once. It&#39;s like a train wreck, but we honestly can&#39;t say we&#39;ve ever seen any other Web series quite like it. <em>Christian vampire urban fantasy rap.</em></p>
<p style="text-align: center;">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/KI9ljR_7_j4?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<big><strong>9) &nbsp;</strong><a href="http://eastsiderstheseries.com/"><strong><em>EastSiders</em></strong></a></big></p>
<p>
<strong>Pros:</strong> After a <a href="http://www.dailydot.com/entertainment/eastsiders-youtube-web-series/">highly publicized preview</a> of the first two episodes, this dramedy about a gay relationship on the rocks easily met its <a href="http://www.kickstarter.com/projects/1503081443/eastsiders-the-series">Kickstarter goal</a> to fund the rest of the season.</p>
<p>
<strong>Cons: </strong>So give us the rest already.</p>
<p>
<big><strong>10) The followup to <em>The </em></strong><a href="http://lizziebennet.com/"><strong><em>Lizzie Bennet Diaries</em></strong></a></big></p>
<p>
<strong>Pros:</strong> This modern-day adaptation of <em>Pride and Prejudice</em> has more than earned its large and enthusiastic fan following, and as the epic transmedia series nears a close, Bernie Su and crew are looking to continue their success with a new project.</p>
<p>
<strong>Cons:</strong> By far the most popular choice for the <em>LBD </em>crew&#39;s next project is Jane Austen&#39;s <em>Emma</em>, but this would be an incredibly tricky project to adapt, and nothing will ever top Amy Heckerling&#39;s modernization in 1995&#39;s brilliant <em>Clueless</em>. But whatever it is, we want it yesterday.</p>
<p>
<u><big><strong>Series we need more of:</strong></big></u>&nbsp;These series are on funding hiatus or in-between seasons, but we hope they&#39;ll be back.</p>
<p>
<strong></strong></p>
<p>
<strong>1) </strong><a href="http://www.youtube.com/playlist?list=PLE6A2F3ACDDA10C28"><strong><em>H+: the Digital Series</em></strong></a>: &nbsp;Like everyone else, we quickly fell in love with <em>Usual Suspects</em> director Bryan Singer&#39;s high-budget dystopian thriller. With an epic 48 episodes in season 1, we should feel spoiled, but instead we&#39;re clamoring for more.</p>
<p>
<strong>2)</strong> <a href="http://www.hipsterhoodseries.com/"><strong><em>Hipsterhood</em></strong></a>: This low-budget comedy already has <a href="http://www.kickstarter.com/projects/hipsterhood/hipsterhood-season-2-0">Kickstarter</a> funding for a second season, and we hope that means new episodes will follow. We can&#39;t resist making fun of hipsters. Or hipsters making fun of themselves. Or a show that allows us to enjoy both at once.</p>
<p>
<strong>3) </strong><a href="http://www.youtube.com/playlist?list=PL7atuZxmT954qKicLcYtpk20SRDZaKCs2"><strong><em>Space Janitors</em></strong></a>: The move to Geek &amp; Sundry has been good for this quirky Canadian sci-fi spoof. But although season 2 is done filming, there&#39;s no ETA on when it will launch.</p>
<p>
<strong>4) </strong><a href="http://watchjobhunters.com/"><strong>Job Hunters</strong></a>: This dark comedic satire in which <em>Battle Royale</em> meets <em>The Office</em> needs to return so it can answer the burning question: If this is an &ldquo;only the strong survive&rdquo; fight to the death, then why is everyone white?</p>
<p>
<strong>5) </strong><a href="http://www.youtube.com/playlist?list=PL6EEF01612A30B05F"><strong><em>Leap Year</em></strong></a>: This quirky series about four friends who get laid off and start their own business has something we&#39;d never expect to find in a series about venture startups sponsored by an insurance company: warmth.</p>
<p>
<strong>Bonus</strong><br />
<a href="http://www.youtube.com/show/videogamehighschoolvghs"><strong><em>Video Game High School</em></strong></a>: Supporters have already raised <a href="http://www.kickstarter.com/projects/freddiew/video-game-high-school-season-two">nearly a million dollars</a> on Kickstarter to fund season 2 of this popular series, which asks the simple question: What if high school was a series of real-life video games? &nbsp;</p>
<p>
<em>Screengrab via </em><a href="http://www.youtube.com/watch?v=B27yWvaujZc"><em>Wigs/YouTube</em></a></p>
aja@thedailydot.com (Aja Romano)Fri, 22 Feb 2013 15:00:00 +0000http://www.dailydot.com/entertainment/10-best-new-web-series-2013/YouTubeEntertainmentTransmedia and the new art of storytellinghttp://www.dailydot.com/entertainment/transmedia-storytelling-roundtable-bernie-su/<p><img src='//cdn0.dailydot.com/cache/d6/a7/d6a7f8e8fa4d9780c765f75ba140df75.jpg'></p><p>
There&rsquo;s more than one side&mdash;and one way to tell&mdash;every story. The Internet has brought with it entirely new possibilities to capture the essence of that presence.</p>
<p>
</p>
<p>
<a href="http://en.wikipedia.org/wiki/Transmedia_storytelling">Transmedia</a>&mdash;the technique of telling a single story across multiple mediums&mdash;is bigger than ever. Numerous Web series have turned to social media and other storytelling platforms to enhance their narratives, while major media franchises from <em>Heroes</em> to <em>The Hunger Games</em> have modeled their marketing campaigns around the idea of engaging fans on multiple levels, both on the big and small screens.</p>
<p>
But what exactly <em>is</em> it? That seems to be a question with as many different answers as there are storytelling platforms. Not to mention that the more platforms you tell a story with, the more challenges you have.</p>
<p>
In order to learn more about these narratives and how fans interact with them, the Daily Dot recently brought together a distinguished panel of transmedia experts for a special round table discussion. Here we present the highlights from this chat about what transmedia is and how different stories can use it in different ways.</p>
<p>
<strong>The Panelists:</strong></p>
<ul>
<li>
<p dir="ltr">
<a href="http://www.dailydot.com/interviews/lizzie-bennet-diaries-cast-interview/"><strong>Bernie Su</strong></a>, executive producer, head writer, and director of <a href="http://lizziebennet.com/"><em>The Lizzie Bennet Diaries</em></a>, a popular vlog-style retelling of <em>Pride and Prejudice</em> that utilizes Twitter, Tumblr, Lookbook, and various side-vlogs to tell different, brand-new facets of an old and familiar story.</p>
</li>
<li>
<p dir="ltr">
<strong>Alexandra Edwards</strong>, transmedia editor for <em>The Lizzie Bennet Diaries.</em></p>
</li>
<li>
<p dir="ltr">
<strong>Flourish Klink</strong>, head of the fan culture division and chief participation officer for <a href="http://www.thealchemists.com/blog/en">The Alchemists</a>, a transmedia development and production company with offices in Portugal, Brazil, and Los Angeles.</p>
</li>
<li>
<p dir="ltr">
<strong>Ana Serrano</strong>, director of the <a href="http://www.cfccreates.com/what_we_do/cfc_media_lab/index.php">Canadian Film Center</a> Media Lab and producer of <a href="http://www.prisondancer.com/"><em>Prison Dancer</em></a>, a stage musical and Web series inspired by the <a href="http://www.youtube.com/watch?v=hMnk7lh9M3o">viral video</a> of inmates at a Philippine prison dancing to &ldquo;Thriller.&rdquo;</p>
</li>
<li>
<p dir="ltr">
<strong>Veronica Heringer</strong>, transmedia strategist at transmedia development company <a href="http://www.smokebomb.ca/">Smokebomb Entertainment</a>.</p>
</li>
<li>
<strong>Steph Ouaknine</strong>, associate producer for Smokebomb. Heringer and Ouaknine are currently developing the transmedia fantasy <a href="http://www.youtube.com/watch?v=w1FX8-k_2_E"><em>The Path</em></a> for Web platforms.</li>
</ul>
<p>
<strong><em>Daily Dot: </em></strong><em>What exactly </em>is <em>transmedia? Let&rsquo;s hear some definitions.</em></p>
<p>
<strong>Klink:</strong> Telling a story across multiple platforms wherein each platform brings something special to that narrative.</p>
<p>
<strong>Edwards:</strong> Our Transmedia Director Jay Bushman calls it &ldquo;platform agnosticism,&rdquo; which is the idea that it doesn&rsquo;t matter what platform you use as long as you successfully deliver content.</p>
<p>
<strong>Su:</strong> I don&rsquo;t know that that&rsquo;s an effective definition, though, because every platform brings different things to the story that you&rsquo;re telling!</p>
<p>
<strong>Serrano: </strong>Transmedia is a business and creative strategy for storytelling that lets authors and creators design a story world across multiple platforms for different audiences. I think transmedia is both a business and creative strategy. We all want audiences. So it&rsquo;s about how we create this extended story experience so that we can tap into audiences across different media.</p>
<p>
<strong>Heringer: </strong>The key concept I&rsquo;d throw in is that your story world has to be insanely good so that I want to live inside it. So there&rsquo;s an aspect of balance. If it&rsquo;s a quick fix storytelling, that won&rsquo;t engage the audience further.</p>
<p>
<strong>DD: </strong><em>Does internationalization affect how you do your work? How?</em></p>
<p>
<strong>Serrano: </strong>Yes, absolutely. <em>Prison Dancer</em> is inspired by the dancing inmates of Sebu, so we originally thought that our audience would be primarily LGBT and Filipino. But we discovered that we actually had a large audience in the Philippines itself, so our focus has become, in part, how can we reach them when they use totally different social media platforms? We&rsquo;ve explored a variety of different things, and we&rsquo;re actually looking into doing live mall performances, because that&rsquo;s where a large portion of our audience lives.</p>
<p style="text-align: center; ">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/KX8bMDNzclA?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<strong>Klink: </strong>We&rsquo;re currently producing a short-video telenovela about a bunch of Latino kids in an L.A. high school. So we have to consider our target audience when we choose our platforms. People don&rsquo;t often realize, not only that different platforms mean people want different things, but that different social media platforms <em>themselves</em> mean different things depending on where you are. Being on Platform X in Brazil says something different than being on that platform in the United States. It says different things about the character based on who&rsquo;s looking.</p>
<p>
<strong>Serrano: </strong>In the Philippines, what we realized is that most people were viewing things on mobile devices, so our annotations for the videos wouldn&rsquo;t work. So something that we&rsquo;ve thought of is putting out a DVD of our YouTube videos&mdash;you just have to be nimble. There will always be a point where you make the wrong strategic decisions, but you&rsquo;ll learn from them. You can never get everything right because there are just too many layers when the audience is involved.</p>
<p>
<strong>Su:</strong> Our audience has specifically asked, when this is done, can we get a DVD? So you definitely adapt as you go.</p>
<p>
<strong><em>DD: </em></strong><em>Are there specific transmedia projects that you admire?</em></p>
<p>
<strong>Klink:</strong> <em>The Lizzie Bennet Diaries</em>!</p>
<p style="text-align: center; ">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/KisuGP2lcPs?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<strong>Serrano:</strong> <em>Wigs</em>. It&rsquo;s just such a great idea to start with all these female archetypes and start spinning out stories from that. The other seminal project for me was <em>The Truth about Marika</em>. That&rsquo;s a great example of a dramatic series and a news show, and the news show is where they did the responsive content development, because they were pretending that the series was based on a real event.</p>
<p>
<strong>Su: </strong><em>Lonely Girl 15 </em>really did influence us a lot, at least me. Hank Green, our co-creator, was a huge fan of it, and knowing how they planned anything was really amazing. I&rsquo;m not sure everything they did was effective, but it was really interesting.</p>
<p>
<strong><em>DD: </em></strong><em>Do you ever feel hampered by the difficulties of working with all these different mediums?</em></p>
<p>
<strong>Su: </strong>We started with Tumblr, and we knew what the personalities on Tumblr were going to be, but then the fans really wanted a Tumblr [for the character of Charlotte Lu], and so we had to develop a Charlotte Tumblr and think about what she was going to be. So she posts trailers about documentary films, and it&rsquo;s true to her as a character. &nbsp;I find that fascinating&mdash;and a little handcuffing.</p>
<p>
<strong>Edwards:</strong> Our fans are so passionate that they&rsquo;ll jump on anything the moment we post it, so we have to walk a fine line of not putting too much content out there, because the more you put out, the more content fans will want, and it becomes a balancing act.</p>
<p>
<strong>Serrano</strong>: Getting that balance right is difficult at first.</p>
<p>
<strong>Su: </strong>It was definitely a learn-as-we-go experience.</p>
<p>
<strong>Heringer:</strong> For our project, <em>The Path</em>, we actually wanted to reach our audience before we even started to tweak the creative side of things. When we started looking to how the fan culture worked and what the fans we were trying to reach actually <em>wanted</em>, we started seeing their whole social experience: the conversations they were having, the fanworks they were creating. So we realized that we needed a regular storyline but also a fandom hub to make that story interactive. We want the fans to experience a hub that will bring them together in conversation with the creators right from the beginning.</p>
<p style="text-align: center; ">
<iframe class="youtube-player" frameborder="0" height="365" src="http://www.youtube.com/embed/w1FX8-k_2_E?rel=0" title="YouTube video player" type="text/html" width="640"></iframe></p>
<p>
<strong>Ouaknine:</strong> The barriers are coming down between fans and The Powers That Be [a fan term for creators and producers]. We reached out to existing fandoms like <em>Once Upon A Time</em> and <em>Veronica Mars</em> and involved them in the process.</p>
<p>
<strong>Klink: </strong>Something I&rsquo;ve been enjoying right now is that previous to forming The Alchemists, my business partner Mark Warshaw did transmedia for <em>Smallville</em> and <em>Heroes</em>, and his perspective is totally different from the perspective of anyone on this roundtable. &nbsp;It&rsquo;s not enough for him to think that he knows what the balance is, even though he&rsquo;s done it before, because online-only audiences and television audiences are so different in so many ways.</p>
<p>
<strong>DD: </strong><em>How does a larger transmedia property like </em>Heroes <em>differ from smaller properties?</em></p>
<p>
<strong>Serrano: </strong>I think for some people transmedia equals augmented reality gaming (ARG), period. No one ever said that. No one ever said that transmedia is only about extending your entire fictional universe where audiences are required to play along with the conceit, suspend their disbelief, adopt a role and act as such throughout the experience.&nbsp;I think that&rsquo;s the main difference between the larger studios who&rsquo;ve often used ARG techniques to create their transmedia strategies and the smaller properties who have used used other models to create their storyworld experience.&nbsp;</p>
<p>
<strong>Heringer: </strong>I completely agree. What is the definition of &ldquo;media?&rdquo; The behavior your character will have on their Twitter feed will be completely different from their scripted actions in a webseries. All of that will be completely different and they will need to be different on each platform. I think some people think transmedia is A, B, or C, and it must be one or the other. But that risks making your story very gimmicky.</p>
<p>
<strong>Klink: </strong>It&rsquo;s not just the smaller properties that need to know this. <em>The Hunger Games</em> tried a transmedia marketing project for the film and it didn&rsquo;t really work well because they didn&rsquo;t really focus on the narrative properties of the story itself.</p>
<p>
<strong>Su:</strong> I had actually never read the books so I loved the film, and I wanted more info about the other <a href="http://thehungergames.wikia.com/wiki/Tribute">Tributes</a>! And I found a book one day, a tie-in to the movie, that purported to have more information about the Tributes, and I excitedly picked it up only to find that the characters were literally labeled &ldquo;Tribute #4,&rdquo; etc. It was a giant missed marketing opportunity.</p>
<p>
<strong>Klink:</strong> It&rsquo;s such a gift to be able to do this with a movie, and you&rsquo;d think that they wouldn&rsquo;t waste those opportunities; but I think part of it is that they don&rsquo;t understand what their audience wants, and they think it&rsquo;s about endless world building, rather than helping the audience know more about what&rsquo;s already there, engaging with the characters and plot on a deeper level.</p>
<p>
<strong>Su: </strong>I&rsquo;m from that mindset of wanting to know more and wanting to go find it.</p>
<p>
<strong>Serrano:</strong> There are so many different ways to give more about those characters to the audiences, without having some wacko scavenger hunt and a wormhole of plot loops. You could do something as simple as a Tribute website with videos from each of the tributes saying goodbye to their loved ones.</p>
<p>
But the hitch is this: You can&rsquo;t do it forever because it&rsquo;s too prohibitively expensive. So what&rsquo;s the best way to give Bernie what he wants?</p>
<p>
<strong>Klink:</strong> Well, look at <a href="http://www.dailydot.com/business/wattpad-unlikely-literary-revolution/">what Wattpad did with One Direction</a>&mdash;they collaborated with Sony, went to the fandom, and extended their marketing with a fic written directly for fandom. It was cost-efficient and it worked.</p>
<p>
<strong><em>DD: </em></strong><em>How do you all feel about that collision of fandom and corporations?</em></p>
<p>
<strong>Edwards:</strong> It can be frustrating to see fans getting so into the series that they really bash Caroline Lee, who&rsquo;s the main &ldquo;villain&rdquo; of the series so far.</p>
<p>
<strong>Ouaknine: </strong>It&rsquo;s great to see fandoms developing around digital properties and Web native IP and transmedia, not just broadcast media.</p>
<p>
<strong>Su:</strong> I was doing a presentation about <em>The Lizzie Bennet Diaries</em>, and I was going over statistics, talking about how immersive and engaged the fanbase is. The VP of sales told me, &ldquo;I just had my mind blown.&rdquo; From my my side, I&rsquo;m seeing a lot of promise. When transmedia properties do well, they drive audiences to products. It&rsquo;s a win-win.</p>
<p>
<strong>Klink: </strong>When brilliant people in the organization get it, they really get it. Sometimes there&rsquo;s no one in the orginization who has a clue except for that intern who&rsquo;s reading the fanfic. But now people are realizing that there&rsquo;s this whole fan universe out there.</p>
<p>
<strong>Serrano: </strong>When I started the [CFC Media Lab] in 1999, there was no YouTube, no Twitter. And the big question was how we were going to negotiate the universal desire of authors to control their stories in lieu of an interactive audience. It&rsquo;s still the same bloody question, although people are more open and there are more models about what that relationship should be; but the dramatic Web series form is suffering from similar problems about what that website should be.</p>
<p>
We have the Independent Series Production Fund in Canada, and what happens with that kind of money is that you forget about the interactivity with the audience as you go because you&rsquo;re so busy creating things. But really it&rsquo;s about this marriage with a dramatic series with a weekly vlog, which I think is going to become the norm. That&rsquo;s why <em>The Lizzie Bennet Diaries</em> is so fantastic, because they&rsquo;ve figured that out. So the next series that we&rsquo;re building has that kind of responsive attachment from fans.</p>
<p>
<strong>Su:</strong> <em>Pride and Prejudice</em> is our greatest weapon, actually, because we have this tried and true story that we know is a great story. The rest of it is us trying to modernize all of these things and making it fit into the setting and the vlog format.</p>
<p>
<strong>Klink:</strong> The majority of <em>East Los High</em> is a scripted, standard fictional universe. At certain point, one character peels off and does vlogging. For us, we had to do it all, scripting and vlogging, and it was a challenge. How do you embody the character as a believable Latino teen on Twitter? It&rsquo;s challenging, and it&rsquo;s getting more so as social media progresses.</p>
<p>
<strong>Heringer:</strong> <em>The Path</em> came from the writers. But we really wanted to acknowledge the fandom that already exists, and we went out and talked to the OAT people, etc. Our approach started to change when we looked at the fandoms and what they were writing about. The fans helped to advance the project to that second stage; the whole social media aspect was related to us going out and talking to people. Our whole model changed because we had to figure out how to fit the creative team we had into the online communities that already existed. It&rsquo;s important for you to know if there&rsquo;s an audience for your idea before you pitch anything.</p>
<p>
<strong>Ouaknine: </strong>A lot of our hits came from <em>Legend of the Seeker</em> and <em>Once Upon a Time</em> fandoms. &nbsp;Just by engaging with those communities we got lots of hits and reblogs. We went to those communities and created things that they could identity with instead of wasting money on a massive marketing budget.</p>
<p>
<strong>Su:</strong> Just because there are all these platforms out there you can play on, doesn&rsquo;t mean you <em>should</em>. Could Mary Bennet have a Spotify account? She could! But it gives us absolutely nothing for us to do that. A lot of the projects that don&rsquo;t work spend way too much time trying to build up threads on different platforms, but that quickly becomes insanity for us. Lydia&rsquo;s cat episode was just me asking Mary Kate Wiles to film her cat on her phone. It cost no money to make but it was extremely popular. Find a way where you can be cost-effective.</p>
<p>
Also a lot of people think money is the major challenging factor, but it&rsquo;s really time. The third one is creative bandwidth. A lot of people go to Twitter because they think it&rsquo;s free&mdash;but the writing isn&rsquo;t.</p>
<p>
<strong>Heringer: </strong>Do your research before throwing things out there. It&rsquo;s not that hard to figure out where people are. You just need to strategize, talk to your creative, and figure out what platforms work for you. The transmedia play is a process. It&rsquo;s so sad to see great creative going to waste because they don&rsquo;t find their audience.</p>
<p>
<strong>Klink: </strong>Give fans more of what they want, not more of what they don&rsquo;t want.</p>
<p>
<em>Screengrab via </em><em><a href="http://prisondancer.com/">Prison Dancer</a></em></p>
aja@thedailydot.com (Aja Romano)Tue, 23 Oct 2012 12:00:00 +0000http://www.dailydot.com/entertainment/transmedia-storytelling-roundtable-bernie-su/Entertainment